The origin of Lepcha Instruments (Sathom)

The ancient Lepcha Kingdom. which extended from the Himalayas in the north to Titaliaya, now in Bangladesh, in the south and from Gipmochi mountain, the trijunction of Sikkim, Bhutan, and Tibet, in the east to the river Aroon, Nepal, in the west. This vast, old Lepcha kingdom was then known as ‘Nye Mayel  Lyang’ literally meaning ‘Holy, hidden, eternal land ’. The Lepchas being nature worshippers are very fond of music and singing. so, they have various kinds of instruments. The origin of the Lepcha instruments (Sathom) dates back to time immemorial. 
 The various types of Lepcha Instruments are :- (1) SATSANG (2) TUNGBUK (3) BANGHU (4) BAMPATHYUT (5) TANGDYU (6) PANTHONG PALIT (7) TANGDAR (8) TANGDARBONG (9) CHAKPURZANG (10)SUNO (11) GYAOM-PALEETH (12) PALEETHKING (13) NIBROKPALEET (14) Popatek

  The story of their origin runs thus- 
                                                   

                                         1) SATSANG

Length - 24 inches
Circumference- 30 inches
Weight- 1100 gms Strings-
4 Length of Bow- 20 inches 



After the reign of the Lepcha King Ritat Panjyum, King Rongbung Punu ascended the throne around 800 B.C. During his reign there lived a hunter by the name of Sato. Once when Sato went for hunting he saw the extra large footprints of a wild boar. Instinctively he tracked down the animal and shot it dead with one poisoned arrow. The boar staggered along for some time and was dead in no time in a bamboo grove. Soon it grew dark and Sato could not return home with his prize hunt. So he cut off one of the hind legs of the boar and put it in his hunting basket. To spend the night he climbed up a bamboo. The hunter sat silently apprehending something in the dead silence of the night. He could hear a very pleasing music made by the rubbing bamboos against each other. After a while he saw a heavy man coming towards the dead boar. He chided the dead boar for disobeying him and meeting such unfortunate fate. Then he chipped a piece of bamboo and fitted it where the foot was missing. Then he chanted six prayers and hit the bamboo foot thrice, thereby the dead boar got up from its deathly sleep and followed him away from the bamboo groove. As these two walked away, the wind blew hard and the sweet music could be heard again. Sato spent the whole night totally engrossed in this music. At dawn Sato got down from the bamboo and the first thing he did was to inscribe in the dry bamboo sheath. The six prayers which he had heard. As he got ready to leave for home, he once again heard the sweet music coming a certain direction. On closer examination he saw, from where and how the music was coming. Two bamboos being rubbed against each other was making that sweet sound. This gave Sato the idea of making aninstruments that worked on the same principle. On reaching home Sato split a bamboo and with another thinner bamboo, he made a bow like accessory and with its help he played the instrument. The instruments resembling a violin played as sweetly as the music he had heard in the bamboo grove. Later Sato improved upon the instruments having wood leather and some finely cut bamboo string to form the bow with which to play the music. As Sato had developed this instrument it was given the name of Satsang. This instrument was played in the court of King Rongbong.


                                                     2)TUNGBAK 

 Length -36 inches
Diametre- 11 inches
 Height- 6 inches
Strings- 4.



 In the reign of yet another King Rubay there lived a certain man who carved woods for livelihood. Once he was carving a hollow a wooden block and quite by accident he discovered a musical sound coming out of the wood which he was carving. This gave him the idea of making a musical instrument with the hollow block. So he carved it deeper, rounded it and covered it with animal - hide. Then he fitted upon it the strings were made up of stinging nettle. He then played the instrument with a wooden striker. Thus the musical instrument called “Tung - bak” was invented. During the reign of King Rubay, the Satsong and Tungbak became the two only instruments that entertained the Royel Court. It appeased the Gods during religious rites weather for death or festivity.


                                                      3) BANGHO 

Diametre- 36 inches
Height- 30 inches,
 Sticks- on pair

 King Portek reigning sometime around 330 B.C. is remembered for the invention of Bangho, a huge drum like instrument. Once again the idea of making this instrument was accidental. Once the King went hunting where he spent the whole night without any success and the weary king leaned against a huge tree trunk which was hollow. He drew his “Ban” (Lepcha Knife) to hit the hollow stump and when he struck it a hollow sound echoed back. On return to his palace he ordered a tree trunk to be hollowed. Then he spread a huge animal hide over it. Thus ... the “bangho” the first of the many he ordered to be made and distributed to all his noble man which was used to send messages. The Bangho was further improved by king Hong Rangen. He used and earthen pot like base in the place of wooden one used earlier. This improved “Bangho” was used to pass messages particularly to alert the advance of enemies in battle. Now days the wooden base is replaced by copper and is still in use specially religious ceremonies.                    


                                      4)BAMPATHYUT

 refined. Length-2 inches.

 In about 103 B.C. a queen by the name of Saum Samblim devised a bamboo whistle like instruments. The invention originally was however not for musical entertainment but to use as a signal to warn people of approaching danger. While the Bangho covered communication for long distances the “Banpathyut” (the bamboo whistle) served short distance communication. The next King Brunssidho in his short reign of ten years popularised the Satsong, Tungbak, Bampathyut and Bangho. The Instruments were widely used and later

                                         

                                     5) Tangdyu 

length -6 inches

 The Tangdyu (vinnaga) was an instruments made in the reign of King Namgfa, who reigned from A.D 1 to A.D.66. The story runs thus. A woodcutter struggling over a huge block of wood with a rather dull edged axe chopped the wood unsuccessfully. He hit the wood for several times until an improperly chopped piece of the wood reverberated with a musical note. He picked up the chipped wood and later devised a bamboo musical instrument resembling what the Nepalese call a “Machanga”. Improving upon his own skill to play “Tangdyu” the woodcutter went to the court of king Namgfa, who improved by this new invention assigned the wood cutter to make more Tangdyu, living permanently at the palace. Music and royalty being closely knit, the musical instrument so far invented remained popular in the royal court and hence with the people also. the Later rulers i.e. Pumpok, Namgfal Aphee Rongmok, Ringzong saw no new invention of any musical instrument but the fact that the already invented one remained popular credit them with its survival.


                                          6)PANTHONGPALIT

Length- 20 inches


 In the reign of Rumdong, there lived a certain Holy man Boongthing . One day he lay in his little shack trying to ward off the birds from pecking the paddy grains from his field. As he ate there he heard a sweet note coming from a bamboo with a hole in it. Deriving an idea from this, he picked up a shapely thin bamboo, pierced four holes on it and blew the tune from the Panthong Palit. It was noticed that the Gods and Deities interacted with him answered his prayers more easily when playing the tunes of this instruments replicated from the sounds of the wind Encouraged by his own invention and skill at it, the Boongthing went to play at a religious ceremony in the court of Rumdong who declared that this “Panthong Palit” should be played during the prayers of the Boongthing to interact in the holy souls this is also played during the festivals and marriages as a message to share happiness and thank the Deities and Gods in time of peace and joy.



                                                       

                                                             7)TUNGDAR
                                                      (photograph coming up shortly)

 Rungzi also made the Tungdar (a type of drum) and the Tungdarbong
 Diameter - 26 inches
Height - 11 inches


                                           


                                                    8)TUNGDARBONG 

                                         



 Length - 20 inches
Diameter - 15 inches




                                          9)CHAKPARZONG
                                           (photograph coming up shortly)


 The next king Rungzi was a king known for his good looks, love for music and his religious devotion. He is credited for having invented the “Chakparzong”, a Lepcha drum which he modelled in the lines of the “Bangho”. This resembles the “Chyabrung” of the Limboos.
Length - 30 inches
Diameter- 10 inches at broad side,
15 inches at handside



                                                   10)SUNO 

Length-24 inches.


 Rungi Punu being a music lover used to keep his royal house echoing with the sweet music of the nine Lepcha musical instruments invented so far. In one of his tax collecting journeys to the southernmost border of the Lepcha kingdom at Jalpesh in the Terrai, Rungzi Punu met the beautiful princes called Gejo from “Jawlasi” Now Jalpaiguri , mesmerised with her charms he cleared a forest in Terrai “Suvok” now Sevok near Silliguri and remained at the place for quite some time until he won the heart of the princess from Jawlasi returned with her . They brought with them a some musical instruments and different seeds from the Terrai . but on the way back to Mayel Lyang they were attacked by the Paromu prince now a part Bhutan on haste they could collect only one instrument and a packet of paddy seeds, Coming back to the palace of Rungi Punu the Queen did not know the exact time to sow the seeds . The queen then entrusted River Teesta with the work of taking a message to her mother down in the plains asking her the time to sow seeds in her new home. The river listened to her patiently and motionless. Do even today the water at the place where the queen had stopped to entrust the river with the work of a messenger is motionless and silent. It is at this place where the Lepchas call it “Gejo Sungnyen” the nepalies call it ‘Nindra pani’. ( the place where the river silently listens to the queen, Gajo). The mother of princess Gajomit sent her message through the Cranes, So till now the Lepchas sow seeds when the Cranes return to the north in the begining of Summer. The Insturment, they brought from the Plains was played in the court of king Rungji, in memory of her homeland in the Terrai . this instrument was soon given the Lepcha name SUNO.


                                           (11) GYAOM-PALEETH 

                         12)PALEETHKENG 

The nine instruments so far invented echoed its harmonies concord in the Lepcha land, Mayel Lyang till 739 A.D. to 1314 A.D. Another ten kings reigned over Mayel Lyang. They were:- 1)Rungjong,2)Turchi,3)Taryang,4)Toordith,5) Toorsing,6)Toorcho,7)Turney,8)Tursang,9) Turoche,10)Turang Tureny happened to be an issueless king but the only music lover among the ten kings mentioned. Having studied the Sano he devised an instrument called ‘Paleethkeng which was a bamboo flute with six holes. One had to hold it straight in front of the mouth to play it like a bag piper’s pipe. He invented yet another six holed flute called the ‘Paleeth’ played like any conventional flute. Tureny became a skilled player of these two instruments and excelled in great joy playing it, during lesure time. Tureng ultimately passed the reign of his government to ‘Thikung Tek’ From 1642 the Lepcha kingdom came under the dominent influence of the Tibeten king, who established the Namgyal Dynasty. With 331 years of domination the Lepcha songs, music, culture, customs and even religion and religious rites dwindled to near extinction. But the story was a bit different in Kalimpong where in 1360 A.D. a Lepcha chieftain by the name of Adik Rabelmu strove to revive the Lepcha Music. Adik Rabelmu’s palace which was in Gaurock, Kagay Block, Kalimpong echoed with Lepcha music and songs. His successer Polak Rabelmu in 1430 took up the chieftainship. In 1490 A.D. Noorzong Rabelmu became the chief of the Lepchas. The year 1555 saw the rise of another Lepcha chieftain called Sgangohho Damsomu. His palace Bom Di stood in Bom Busty, Deorali area, Kalimpong. Sgangohho Damsoma was succeded by Damsang Damsomu, in 1641.

   

                                                     13)NIBROKPALITH 

Length - 15 inches,
Holes- 6.


 IN 1691, the son of Damsang Damsomu, Aprajap Damsangmu was coronated at Kalimpong. His queen was Ashekmith. Aprajap was a man of fine tastes. He refined music and musical instruments to a more sophisticated level. Among his notable invention was the “Nibrok- Paleeth” designed on the model of Paleethking. It was a double barrelled flute. Aprajap is also credited for having introduced the use of sophisticated medicine. He encouraged physicians to do research in medicine. It was during his time that the Lepcha Mun (female priestess) and Bungthing (Priest) received recognition. Aprajap being a man of fine tastes especially in music developed twelve different “Ragas”. Thuse given to Lepcha music the first ever systemised trend. The twelve regas were:- 1) Elam Sut, 2) Damsang Sut, 3) Renjyong Sut, 4) Hit Sut, 5) Peeldhon Sut, 6) Tasheykintho Sut, 7) Apeek Sut, 8) Paleek Sut, 9) Tungsang Sut, 10)Tungkyong Sut, 11) Suruot Sut, 12) Kurhom Sut. The thirteen Lepcha instruments (sathom) that existed were used to play the above 12 ragas to glorify its past. Aprajup’s palace in Longshyol, Gitdabling, Kalimpong was handed over along with the reign of the government to his son Gayboo Aachyok. He was born on 1731, He had to fight with invaders throughout his reign, so he could contribute nothing towards music and culture. Ultimately he died at war with Proomoo now in Bhutan in 1781 A.D. Once again with the Bhutanese intrusion into the Lepcha land the Lepchas came under the dominant influence of the Bhutanese under the foreign rule the Lepcha culture, songs, music etc. almost vanished from Lepcha land.


                                             14)Popatek 

Length-16 inches.




  FOREWARD:

 The above facts about these Lepcha musical instruments were collected by Ren Lapun S.T. Tamsang lepcha during his casual conversation during his extensive travel in Sikkim, Darjeeling dist, Elam and the Terrai near Bhutan. His long so journey in the quest of knowledge about Lepcha music was worthwhile. He also met elderly Lepchas illiterate but still rich with knowledge of our ancient heritage and therefore able to orally communicate to him these precious bits of information before it became buried with the past. This rich harvest of past history encouraged him to delve deep enough to be able to collect a little more than 400 folk songs and about 60 folk dances. The different musical instruments were used in particular occasions. For example the “Panthong Palit” was played during festive occasion of marriage and during the joyous return of warriors. It was a welcome note that sounded its sweet music in the very early hours of dawn, apparently the instrument is never played during daytime. The Nibrok (double barrelled flute) was played to welcome dignitaries like kings prince and princess of neighbouring regions. The Bangho originally used to convey message over the hills to different villages is now used in religious performances in monastries. The Tungdarbong is now used by the Lepcha priestress “Mun” during her incantation. The suno is also used as the instruments to play the joyful tune of welcome to dignitories. Bampathyut is used by hunters while poaching in order to signal messages to eachother. The Popatek is made of bamboo. It has slit in the middle and it resembles the modern instrument, “Merica.


   The following are the names of the Lepcha people from where he gathered the above information regarding Lepcha musical instruments:-

 1)     Mr. Dunsong - (96 yrs. old) Daramdin, West Sikkim.
 2)     Mandal Lachen Thingthompacho (91yrs. old) Dzongu, Penthong.
 3)     Mr. Tuknilmoo(75yrs. old) Disa Busty. Ellam, Nepal
 4)     Mr. Deeda Lepcha (99yrs. old) Namthang Sikkim.
 5)     Mr. Pema Dorjee Namchumu (96 yrs. old) Darjeeling Pokhrebong Busty.
 6)     Mr.Gogo bongthing Foyingmu(86 yrs old) Gitdabling, Kalimpong.
 7)     Mr. Sangdo Golukmu - 81 yrs. old) Gitdabling, Kalimpong.
 8)     Mr. Namgna Dorjee (76 yrs. old) Rumchetpacho. Dzongu, Sikkim.
 9)     Mr. Ramdal Rai (112 yrs. old) Gorubathan, Pankhasary Busty.


 Their age when he met them.

AZUK TAMSANGMOO LEPCHA